2 Antique Master Prints-ARCHITECTURE-TOWER-NIEUWE KERK-AMSTERDAM-Anonymous-1666 - 2 Antique master prints, titled: 'Amstelaedamense cum turri novum (ut ajunt) templum, ao 1666.' - Projected tower for the New Church in Amsterdam. The first print shows the Nieuwe Kerk from the west, with the design for the never built tower. These rare views are sometimes found bound in with works like Blaeu's Townbooks, or Wagenaar's description of Amsterdam (see: Laurentius, Clement de Jonghe. Kunstverkoper in de Gouden Eeuw, p.29 and note 42). Etching on hand laid (verge) paper. Description: Source unknown, to be determined. State: Third and second state. Ref: Undescribed. Very interesting rare set with a third and second state; there is a state with the adress of R. van den Hoeie. The spire itself was never built.Artists and Engravers: Made by 'Anonymous' after own design. Anonymous, published by the famous Amsterdam print publisher Clement de Jonghe (ca. 1624-1677). Condition: Fair, given age. Small margins was torn in two and restored; the second state is cut short and restored tear in the middle. Despit these defects, large attractive prints. General age-related toning and/or occasional minor defects from handling. Please study scan carefully. Storage location: TPCLA-Expo-P1-03 The overall size is ca. 18.2 x 24.8 inch. The image size is ca. 17.7 x 23.4 inch. The overall size is ca. 46.3 x 63 cm. The image size is ca. 45 x 59.5 cm.

Janssonius/Hondius, H. Johann (1588 - 1664) AmsterdamRegni Daniae accuratissima delineatio Artist: Janssonius/Hondius H Johann ca ; issued in: Amsterdam; date: ca1666 - - technic: Copper print; - colorit: original colored; - condition: Very good; - size (in cm): 45 x 56; - description: Map shows total Denmark; - vita of the artist: Johannes Janssonius (Jansson),( 1588- 1664) Amsterdam was born in Arnhem, the son of Jan Janszoon the Elder,a publisher and bookseller. In 1612 he married Elisabeth de Hondt, the daughter of Jodocus Hondius. He produced his first maps in 1616 of France and Italy. In 1623 Janssonius owned a bookstore in Frankfurt am Main, later also in Danzig, Stockholm, Copenhagen, Berlin, Königsberg, Geneva and Lyon. In the 1630s he formed a partnership with his brother in law Henricus Hondius, and together they published atlases as Mercator/Hondius/Janssonius.Under the leadership of Janssonius the Hondius Atlas was steadily enlarged. Renamed Atlas Novus, it had three volumes in 1638, one fully dedicated to Italy. 1646 a fourth volume came out with English County Maps, a year after a similar issue by Willem Blaeu. Janssonius' maps are similar to those of Blaeu, and he is often accused of copying from his rival, but many of his maps predate those of Blaeu and/or covered different regions. By 1660, at which point the atlas bore the appropriate name Atlas Major, there were 11 volumes, containing the work of about a hundred credited authors and engravers. It included a description of most of the cities of the world (Townatlas), of the waterworld (Atlas Maritimus in 33 maps), and of the Ancient World (60 maps). The eleventh volume was the Atlas of the Heavens by Andreas Cellarius. Editions were printed in Dutch, Latin, French, and a few times in German.

HOOGHE, Romeyn de Victorien der Nederl. Geoct. O. Compagnie op het Koninkryck van Macasser door den Ed. heer C. Speelman.[Amsterdam?, 1669]. Engraved view (40 x 54.5 cm), with two battle scenes on top, flanked by portraits of Speelman and Radjah Palacca, with in the centre a laurel wreath with the monogram of the VOC, surrounded by Mars and Mercury, and a banderole with the title; and with letterpress text below the view (11 x 54.5 cm), including two poems by the famous Dutch poet Joost van den Vondel and numbered keys referring to the plate. Framed (75 x 81 cm). Landwehr, R. de Hooghe, p. 59; Landwehr & V.d. Krogt, VOC 236; cf. Muller, Historieprenten 2294. A magnificent engraving, in its second state, depicting the victory of the Dutch East India Company over the Kingdom of Makassar. It shows the victories of Cornelis Speelman and his ally, Radjah Palacca, King of the Bougainese, in the years 1666 to 1669, with their portraits together at the head, flanked by two battle scenes: the left showing the victory over the capital Samboupo and the right showing the capture of the fortified settlements Glisson, Batta, etc. The view was engraved by Romeyn de Hooghe, one of the greatest artists to come out of the late Dutch Golden Age. In its present second state, it includes numbers referring to the numbers in the letterpress key. The plate itself depicts various events from the war, including the siege of Bouton, the island called Makassar's churchyard, the surrender of the King of Makassar, houses, farms, etc.Edges of the plate have been strengthened with some tiny repairs to the corners and outer edges of the fold, mostly covered by the passepartout. A very good copy.

VALENTIJN, François.Oud en nieuw Oost-Indiën, vervattende een naaukeurige en uitvoerige verhandelinge van Nederlands mogentheyt in die gewesten, . Te zamen dus behelzende niet alleen een zeer nette beschhryving van alles, wat Nederlands Oost-Indiën betreft, maar ook 't voornaamste dat eenigzins tot eenige andere Europeërs, in die gewesten, betrekking heeft.Dordrecht, Johannes van Braam; Amsterdam, Gerard onder den Linden, 1724-1726. 5 volumes. Folio. With engraved frontispiece, engraved dedication to Egidius van den Bempden, engraved author's portrait, 264 (of 265) engraved plates (many folding), 8 letterpress folding tables, and 80 engravings in text. Contemporary calf, gold-tooled spine with a floral/ornithological tool in 5 of 7 compartments, gold-tooled bo - Howgego D-88; Landwehr & V.d. Krogt, VOC 467; Schilder, Australia unveiled, p. 152; for Valentijn: NNBW V, cols. 989-990. Richly illustrated first edition (the only early and only unabridged edition) of Valentijn's monumental study of the East Indies and especially Ambon, where he lived for more than 15 years. Besides being the most comprehensive and authoritative source about the Dutch colonial empire in the East for centuries, its literary qualities were praised even by modern critics. The work is also of particular interest for Australia as it "for the first time gave a complete and accurate account with maps and drawings of Tasman's first voyage", including information based on manuscripts now lost. Valentijn is "remarkably complete; the book is therefore a goldmine overflowing with information; he brought together everything accessible in his day . [and] includes much information that one can find nowhere else; for that reason it remains indispensable" (NNBW). Valentijn (1666-1727) went to the East Indies as a minister of the church in 1685 and settled in Ambon. With 18th-century(?) owner's inscription in each volume, partly erased or covered. Lacking the engraved portrait of Mattheus de Haan in volume 4 and an errata leaf in volume 3. Some occasional browning, occasional small spots and stains, and with a tear in a some of the folding plates. Bindings rubbed along the extremities, a few slightly damaged at the foot or head of the spine. Overall in good condition.

HOOGHE, Romeyn de.Victorien der Nederl. Geoct. O. Compagnie op het Koninkryck van Macasser door den Ed. heer C. Speelman.[Amsterdam?, 1669]. Engraved view (40 x 54.5 cm), with two battle scenes on top, flanked by portraits of Speelman and Radjah Palacca, with in the centre a laurel wreath with the monogram of the VOC, surrounded by Mars and Mercury, and a banderole with the title; and with letterpress text below the view (11 x 54.5 cm), including two poems by the famous Dutch poet Joost van den Vondel and numbered keys referring to the plate. Framed (75 x 81 cm). - Landwehr, R. de Hooghe, p. 59; Landwehr & V.d. Krogt, VOC 236; cf. Muller, Historieprenten 2294. A magnificent engraving, in its second state, depicting the victory of the Dutch East India Company over the Kingdom of Makassar. It shows the victories of Cornelis Speelman and his ally, Radjah Palacca, King of the Bougainese, in the years 1666 to 1669, with their portraits together at the head, flanked by two battle scenes: the left showing the victory over the capital Samboupo and the right showing the capture of the fortified settlements Glisson, Batta, etc. The view was engraved by Romeyn de Hooghe, one of the greatest artists to come out of the late Dutch Golden Age. In its present second state, it includes numbers referring to the numbers in the letterpress key. The plate itself depicts various events from the war, including the siege of Bouton, the island called Makassar's churchyard, the surrender of the King of Makassar, houses, farms, etc.Edges of the plate have been strengthened with some tiny repairs to the corners and outer edges of the fold, mostly covered by the passepartout. A very good copy.

Janssonius Johann (1588 - 1664) AmsterdamDucato di Parma et di Piacenza Artist: Janssonius Johann ca ; issued in: Amsterdam; date: ca1666 - - technic: Copper print; - colorit: colored; - condition: Very good; - size (in cm): 38 x 49; - description: Map of the duchies of Parma and Piacenza.; - vita of the artist: "Johannes Janssonius (Jansson),( 1588- 1664) Amsterdam was born in Arnhem, the son of Jan Janszoon the Elder,a publisher and bookseller. In 1612 he married Elisabeth de Hondt, the daughter of Jodocus Hondius. He produced his first maps in 1616 of France and Italy. In 1623 Janssonius owned a bookstore in Frankfurt am Main, later also in Danzig, Stockholm, Copenhagen, Berlin, Königsberg, Geneva and Lyon. In the 1630s he formed a partnership with his brother in law Henricus Hondius, and together they published atlases as Mercator/Hondius/Janssonius.Under the leadership of Janssonius the Hondius Atlas was steadily enlarged. Renamed Atlas Novus, it had three volumes in 1638, one fully dedicated to Italy. 1646 a fourth volume came out with "English County Maps", a year after a similar issue by Willem Blaeu. Janssonius' maps are similar to those of Blaeu, and he is often accused of copying from his rival, but many of his maps predate those of Blaeu and/or covered different regions. By 1660, at which point the atlas bore the appropriate name "Atlas Major", there were 11 volumes, containing the work of about a hundred credited authors and engravers. It included a description of "most of the cities of the world" (Townatlas), of the waterworld (Atlas Maritimus in 33 maps), and of the Ancient World (60 maps). The eleventh volume was the Atlas of the Heavens by Andreas Cellarius. Editions were printed in Dutch, Latin, French, and a few times in German."

Sanson Guillaume (1600 - 1667) ParisHaute, ou Petite Pologne ou sont les Palatinats de Cracow, San Domirie, et Lublin, Artist: Sanson Guillaume d ; issued in: Paris; date: d1666 - - technic: Copper print; - colorit: original colored; - condition: Perfect condition; - size (in cm): 42,5 x 55; - description: Map shows the area of Krakau Sandomierz and Lublin in Polen.; - vita of the artist: Nicolas Sanson (1600?1667) was a French cartographer, termed by some the creator of French geography, in which he's been called the father of French cartography.Active from 1627, Sanson issued his first map of importance, the "Postes de France", which was published by Melchior Tavernier in 1632. After publishing several general atlases himself he became the associate of Pierre Mariette, a publisher of prints.In 1647 Sanson accused the Jesuit Philippe Labbe of plagiarizing him in his Pharus Galliae Antiquae; in 1648 he lost his eldest son Nicolas, killed during the Fronde. Among the friends of his later years was the great Condé. He died in Paris on 7 July 1667. Two younger sons, Adrien (d. 1708) and Guillaume (d. 1703), succeeded him as geographers to the king.In 1692 Hubert Jaillot collected Sanson's maps in an Atlas nouveau. See also the 18th century editions of some of Sanson's works on Delamarche under the titles of Atlas de géographie ancienne and Atlas britannique; and the Catalogue des cartes et livres de géographie de Sanson (1702).

CORTESE, GIULIO CESARE & CAMILLO SCROFA (or SCROFFA).:OPERE DI GIULIO CESARE CORTESE IN LINGUA NAPOLETANA. BOUND WITH I CANTICI DI FIDENTIO GLOTTOCHRYSIO. Napoli, per Novello de Bonis, ad istanza d'Adriano Scultore, 1666. in questa XV. impressione purgate con somma accuratezza da infiniti errori, che le rendevano manchevoli, e diffettose, e ridotte alla vera perfettione dell'autore. TWO WORKS BOUND TOGETHER 1666 & 1614. No. 1: Cortese, Opere, 6 volumes in 1, each with separate pagination, register and dated title page, plus half-title and general title page at the front listing the 6 works in Neapolitan dialect on the reverse. 12mo, approximately 140 x 70 mm, 5½ x 2¾ inches, each title page has a woodcut decorative border, a few pictorial tailpieces, similar borders to the "argomienti" of the canti, pages: Volume I, [10], 96; Volume II, 130; Volume III, [2], 96; Volume IV, 71 [1]; Volume V: 80 misnumbered 84 with a jump in pagination from page 72 to 77, catchwords correct, nothing is missing; Volume VI, 72, bound in full old vellum, gilt lettering within gilt border to spine. Vellum slightly stained, small old ink stain to upper outer corner of first 7 leaves of Volume I, many leaves lightly age-browned, occasional small pale stain, neat ink note in 1 margin, small ink blot on last page of Volume III, text still legible. A very good tight copy of a scarce work. Giulio Cesare Cortese (1575 - c.1640) was born and lived most of his life in Naples. He studied law but became a courtier in Spain and Florence and was known as the author of poems and prose works in both the Tuscan and the Neapolitan dialect. With Giambattista Basile whom he had known as a boy in Naples he was responsible for laying the foundations for the artistic and literary dignity of the Neapolitan language. Despite the statement in the title that this is the fifteenth edition of the Opere, no earlier editions of either the collected edition or the single works are listed in the Italian libraries (ICCU). In the Bibliotheque Nationale there is a made up edition dated 1645-1652 published by Cavallo in Naples. In our edition the title pages are all dated 1666. It contains the following works: [1]: Micco Passaro nnammorato. Poema eroico di Giulio Cesare Cortese; [2]: La rosa fauola di Giulio Cesare Cortese; [3]: La vaiasseide poema, di Giulio Cesare Cortese. Il pastor Sebeto, a compita perfettione ridotta, con gli argomenti, & alcune prose di Gian Alesio Abbattutis. Dedicata al potentissimo re de' venti; [4]: Li trauagliuse ammure de Ciullo, e Perna de Giulio Cesare Cortese; [5]: Viaggio di Parnaso poema, di Giulio Cesare Cortese; [6]: Lo cerriglio ncantato poema eroico di Giulio Cesare Cortese. Brunet, II, page 314, cites only our edition of the Opere but mentions an edition of La Rosa of 1621 and an edition of La Vaiasseide of 1628. BOUND WITH, No. 2: I CANTICI DI FIDENTIO GLOTTOCHRYSIO, et d'altri celeberrimi ludimagistri. Novamente impressi & locupletati. Dedicati alli Discepoli della Scola Fidentiaca. Vicenza, Domenico Amadio, 1614. Anonymous and generally attributed to the Vicenzan poet Camillo Scrofa (Scroffa). 12mo, Italian text, printer's pictorial device to title page, another different one to final page of anchor and fish, woodcut head and tailpieces, pages: (12), 119, (1). Title page a little spotted and laid down on old paper, upper and fore-edge margins slightly trimmed, couple of tiny inkspots to 2 pages, no loss of legibility, 2 tiny holes in margin of first text page. These Cantici belong to a minor genre of Italian poetry known as Fidentian which originated as a vehicle for homosexual themes that within the larger context of burlesque poetry have given rise to Burchiellesque and Bemesque poetry. Its initiator was Camillo Scroffa (1526-1565) who probably composed I Cantici di Fidentio when studying law (1545-50), and first published them in 1562 in an edition of some 29 pages. They are supposed to have been written by an "amorous pedant" Fidentio Glottochrysio who is hopelessly in love with the handsome Camillo Strozzi. The anthology amounts in the main to an anti-Petrarchan pamphlet, poking fun at well-worn conventions of love poetry, while at the same time it is a satire on the excessive preoccupation with classical antiquity into which the humanists had fallen, both from a linguistic standpoint and in view of their exaltation of the so-called Socratic love. What came to be known as Fidentian poetry - which is technically the opposite of macaronic poetry, which mixes vernacular elements into Latin, instead of vice versa - was cultivated even before the first authorized edition of the Cantici in 1562, and lasted until the beginning of the eighteenth century. With numerous additions from different poets this anthology was reprinted many times and was still in print in 1781. See, COPAC. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

CORTESE, GIULIO CESARE & CAMILLO SCROFA (or SCROFFA).:OPERE DI GIULIO CESARE CORTESE IN LINGUA NAPOLETANA BOUND WITH I CANTICI DI FIDENTIO GLOTTOCHRYSIO Napoli, per Novello de Bonis, ad istanza d'Adriano Scultore, 1666.. in questa XV. impressione purgate con somma accuratezza da infiniti errori, che le rendevano manchevoli, e diffettose, e ridotte alla vera perfettione dell'autore. TWO WORKS BOUND TOGETHER 1666 & 1614. No. 1: Cortese, Opere, 6 volumes in 1, each with separate pagination, register and dated title page, plus half-title and general title page at the front listing the 6 works in Neapolitan dialect on the reverse. 12mo, approximately 140 x 70 mm, 5½ x 2¾ inches, each title page has a woodcut decorative border, a few pictorial tailpieces, similar borders to the "argomienti" of the canti, pages: Volume I, [10], 96; Volume II, 130; Volume III, [2], 96; Volume IV, 71 [1]; Volume V: 80 misnumbered 84 with a jump in pagination from page 72 to 77, catchwords correct, nothing is missing; Volume VI, 72, bound in full old vellum, gilt lettering within gilt border to spine. Vellum slightly stained, small old ink stain to upper outer corner of first 7 leaves of Volume I, many leaves lightly age-browned, occasional small pale stain, neat ink note in 1 margin, small ink blot on last page of Volume III, text still legible. A very good tight copy of a scarce work. Giulio Cesare Cortese (1575 - c.1640) was born and lived most of his life in Naples. He studied law but became a courtier in Spain and Florence and was known as the author of poems and prose works in both the Tuscan and the Neapolitan dialect. With Giambattista Basile whom he had known as a boy in Naples he was responsible for laying the foundations for the artistic and literary dignity of the Neapolitan language. Despite the statement in the title that this is the fifteenth edition of the Opere, no earlier editions of either the collected edition or the single works are listed in the Italian libraries (ICCU). In the Bibliotheque Nationale there is a made up edition dated 1645-1652 published by Cavallo in Naples. In our edition the title pages are all dated 1666. It contains the following works: [1]: Micco Passaro nnammorato. Poema eroico di Giulio Cesare Cortese; [2]: La rosa fauola di Giulio Cesare Cortese; [3]: La vaiasseide poema, di Giulio Cesare Cortese. Il pastor Sebeto, a compita perfettione ridotta, con gli argomenti, & alcune prose di Gian Alesio Abbattutis. Dedicata al potentissimo re de' venti; [4]: Li trauagliuse ammure de Ciullo, e Perna de Giulio Cesare Cortese; [5]: Viaggio di Parnaso poema, di Giulio Cesare Cortese; [6]: Lo cerriglio ncantato poema eroico di Giulio Cesare Cortese. Brunet, II, page 314, cites only our edition of the Opere but mentions an edition of La Rosa of 1621 and an edition of La Vaiasseide of 1628. BOUND WITH, No. 2: I CANTICI DI FIDENTIO GLOTTOCHRYSIO, et d'altri celeberrimi ludimagistri. Novamente impressi & locupletati. Dedicati alli Discepoli della Scola Fidentiaca. Vicenza, Domenico Amadio, 1614. Anonymous and generally attributed to the Vicenzan poet Camillo Scrofa (Scroffa). 12mo, Italian text, printer's pictorial device to title page, another different one to final page of anchor and fish, woodcut head and tailpieces, pages: (12), 119, (1). Title page a little spotted and laid down on old paper, upper and fore-edge margins slightly trimmed, couple of tiny inkspots to 2 pages, no loss of legibility, 2 tiny holes in margin of first text page. These Cantici belong to a minor genre of Italian poetry known as Fidentian which originated as a vehicle for homosexual themes that within the larger context of burlesque poetry have given rise to Burchiellesque and Bemesque poetry. Its initiator was Camillo Scroffa (1526-1565) who probably composed I Cantici di Fidentio when studying law (1545-50), and first published them in 1562 in an edition of some 29 pages. They are supposed to have been written by an "amorous pedant" Fidentio Glottochrysio who is hopelessly in love with the handsome Camillo Strozzi. The anthology amounts in the main to an anti-Petrarchan pamphlet, poking fun at well-worn conventions of love poetry, while at the same time it is a satire on the excessive preoccupation with classical antiquity into which the humanists had fallen, both from a linguistic standpoint and in view of their exaltation of the so-called Socratic love. What came to be known as Fidentian poetry - which is technically the opposite of macaronic poetry, which mixes vernacular elements into Latin, instead of vice versa - was cultivated even before the first authorized edition of the Cantici in 1562, and lasted until the beginning of the eighteenth century. With numerous additions from different poets this anthology was reprinted many times and was still in print in 1781. See, COPAC. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE. FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

HANDEL, George Frideric 1685-1759Volume of six rare opera libretti (five by Handel, one by Ariosti) all but one in first edition Thick octavo. Full contemporary ivory vellum with "Opern" within decorative rules at head of spine. With fine decorative woodcut device to titles and decorative woodcut head- and tailpieces and initials throughout. All in three acts.CORIOLANUS [music by Attilio Ariosti 1666-1729]Cajo Marzio Coriolano, Drama. Da Representarsi Nel Regio Teatro d'Hay-Market, per La Reale Accademia di Musica. London: Printed by Tho. Wood in Little Britain, 1723.1f. (recto half-title, verso blank), 1f. (recto title, verso blank), [v] (dedication to the Duchess of Newcastle by N. Haym), [iii] ("Argomento"), [iii] ("Argument"), [i] (named cast list in Italian), [i] (named cast list in English), [2]-79, [i] (blank) pp. With text in Italian and English on facing pages. Named cast includes Francesco Bernardi, "call'd Senesino," Francesca Cuzzoni, Margherita Durastanti, Anastasia Robinson, Giuseppe Boschi, Gordon, and Gaetano Berenstadt.First performed in London on February 19, 1723 to a libretto by Niccola Francesco Haym with music by Ariosti. ?First Edition (COPAC calls this a 2nd edition). No early editions located. Not in Sonneck."At the beginning of 1720 [Ariosti] was in Paris for a state wedding, and he might have stayed there until a few months before the production of his Caio Marzio Coriolano in February 1723. This was by far the most successful of the operas he composed or reworked for the Royal Academy, and it was the only one revived in London. Its original success owed a great deal to the prima donna, Francesca Cuzzoni, who had made her sensational London début one month earlier (in Handel's Ottone), but it likewise owed much to Ariosti's expressive setting of Pariati's excellent libretto." Lowell Lindgren in Grove Music Online.OTTONE. [HWV 15]Ottone, Re di Germania. Drama. Da Rappresentarsi Nel Regio Teatro d'Hay-Market, per La Reale Accademia di Musica. London: Printed by Tho. Wood in Little Britain, 1723. 1f. (recto half-title, verso blank), 1f. (recto title, verso blank), [v] (dedication to the Count of Halifax by N. Haym), [i] ("Argomento), [i] ("Argument"), [i] (named cast list in Italian), [i] (named cast list in English), [2]-67, [i] (blank) pp. With text in Italian and English on facing pages.Named cast includes Francesco Bernardi (Senesino), Francesca Cuzzoni, Goschi, Margherita Durastanti, Gaetano Berenstatt, and Anastasia Robinson.First performed in London at the King's Theatre on January 12, 1723 to a libretto adapted by Nicola Francesco Haym from Stefano Benedetto Pallavicino's Teofane (1719, Dresden),First Edition. HWV p. 200.Sonneck p. 840. Dean p. 449. The first new opera in the Royal Academy of Music's fourth London season. "The most important event of the 1722-3 season as far as the public were concerned was the arrival of the soprano Francesca Cuzzoni, a worthy match to Senesino, and it was Handel's new opera Ottone in which she made her début." Anthony Hicks in Grove Music Online.TAMERLANO. [HWV 18]Tamerlano: Drama. Da Rappresentarsi nel Regio Teatro di Hay-Market, per La Reale Accademia di Musica. London: Printed and Sold at the King's Theatre in the Hay-Market, 1724. 1f. (recto title, verso blank), [iv] (dedication to the Duke of Rutland by N. Haym), [i] ("To the Reader" in Italian), [ii] (("To the Reader" in English), [i] (named cast list in Italian), [i] (named cast list in English), [2]-99, [i] (blank) pp. With text in Italian and English on facing pages. Named cast includes Andrea Pacini, Francesco Borosini, Francesco Bernardi, Guiseppe Boschi, Francesca Cuzzonni, and Anna Dotti. Small paper repair to lower margin of pp. 29/30 just affecting tailpiece on p. 29 and two words of text on p. 30.First performed in London at the King's Theatre on October 31, 1724 to a libretto by Niccola Francesco Haym after Agostino Piovene. First Edition. HWV p. 237. Sonneck p. 1049. Dean p. 564. "Two comparably great though very different masterpieces dominated the next season. Tamerlano, which opened the season (31 October 1724), and Rodelinda (13 February 1725) are comparatively restrained in instrumentation, but possess a taut dramatic power to which it is hard to find a parallel in opera of this period." Anthony Hicks in Grove Music Online.ELPIDIA [HWV A1]L'Elpidia, overo Li Rivali Generosi. Drama per Musica. Da Rappresentarsi Nel Regio Teatro di Hay-Market, per La Reale Accademia di Musica. The Words compos'd by Signor Apostolo Zeno. The Musick by Signor Leonardo Vinci, except some few Songs by Signor Gioseppe Orlandini. London: Printed, and Sold at the Opera-Office in the Hay-Market, 1725. 1f. (recto title, verso blank), [i] (cast list in Italian), [i] (cast list in English), [i] ("Argomento"), [i] ("Argument"), [7]-45, [i] (blank) pp. Text in Italian, with summaries of scenes in English. Small paper repair to lower margin of pp. 45/46 just affecting tailpiece on p. 45; contemporary annotation in ink to lower margin of blank p. 46.Named cast includes Boschi, Senesino, Pacini, Cuzzoni, Borosini, and Sorofini. A pasticcio first performed on May 11, 1725 to a libretto by Apostolo Zeno with music by Handel, Leonardo Vinci and Giuseppe Maria Orlandini.First Edition.HWV p. 344-345.Not in Sonneck."Elpidia was Handel's first pasticcio. He arranged the whole and composed the recitatives. Haym took the libretto from Zeno's I rivali generosi... Most of the aria texts were lifted with their music from Vinci's Ifigenia in Tauride and Rosmira fedele and Orlandini's Berenice, the three newest operas produced at the San Gioivanni Gristostomo theatre in Venice only a few weeks earlier... For the first time London audiences were confronted with the pre-classical style based on harmonic rather than contrapuntal bass lines and florid voice parts that go their own way rather than developing ritornello material. Handel's quickness in seizing the latest fashion, which he was soon to digest and make his own, is remarkable." Dean p. 321. SCIPIONE [HWV 20]Scipione. Drama. Da Rappresentarsi Nel Regio Teatro di Hay-Market; per La Reale Accademia di Musica. London: Printed, and Sold at the King's Theatre in the Hay-Market, 1726. 1f. (recto title, verso blank), 1f. (recto argument in Italian and English, verso cast list in Italian), [i] (cast list in English), [2]-63, [i] (blank) pp. Text in Italian and English on facing pages. Lower margins of two leaves trimmed affecting last line of text but not affecting legibility; small portion of upper outer corner of pp. 41/42 lacking affecting several words.Named cast includes Baldi, Francesco Bernardi, Antinori, Boschi, Francesca Cuzzoni, and Constantini. First performed in London at the King's Theatre on March 12, 1726 to a libretto by Paolo Antonio Rolli based on Antonio Salvi's Publio Cornelio Scipione (1704, Livorno), after Livy, Historiarum ab urbe condita, xxvi, 50.?First Edition.HWV p. 261 (two editions published in 1726, one published by Thomas Edlin and the present edition, not assigning precedence).Not in Sonneck.Dean p. 623. "Scipione was Handel's eighth full-length opera for the Royal Academy of Music. There were 13 performances in the first run, with a cast consisting of the castratos Senesino and Antonio Baldi (Luceio [Luceius] and Scipio), the sopranos Francesca Cuzzoni and Livia Costantini (Berenice and Armira), the tenor Luigi Antinori (Lelio [Laelius]) and the bass Giuseppe Boschi (Ernando). The opera was written in unusual haste; Handel completed the score only ten days before the first performance, having taken - according to the librettist, Rolli - just three weeks to compose the music; signs of hurry are occasionally apparent both in the music (the overture borrows from two of Handel's recorder sonatas) and the libretto (the last recitative repeats the words of an earlier aria)." Anthony Hicks in Grove Music Online.FLAVIO [HWV 16]Flavio Re de' Longobardi. Drama. Da Rappresentarsi Nel Regio Teatro di Hay-Market. The Second Edition. London: Printed for T. Wood in Little-Britain, and are to be sold at the King's Theatre in the Hay-Market, 1732.1f. (recto title, verso "The Argument"), 3 (named cast list in English and Italian), 4-47, [i] (blank) pp. The "Argument" is in English only, with text in Italian and English on facing pages. Named cast includes Campioli, Senesino, Strada, Bagnolessi, Bertolli, Mantagnana, and Pinacci.Second edition.First performed in London at the King's Theatre on May 14, 1723 to a libretto by Nicola Francesco Haym adapted from Mateo Noris's Il Flavio Cuniberto (1682, Venice).HWV p. 210.Not in Sonneck.Dean p. 477."Flavio was Handel's fourth full-length opera composed for the Royal Academy of Music; its eight performances ended the 1722-3 season at the King's Theatre... Handel revived Flavio at the King's Theatre on 18 April 1732, when the bass Montagnana took over the role of Ugone (originally tenor) and the tenor Pinacci the role of Lotario (originally bass); this reversal of voices actually restored Handel's first plan for the opera, Acts 1 and 2 having been originally written for this combination. Chrysander's edition largely ignores the pre-performance and 1732 versions of the opera." Anthony Hicks in Grove Music Online."The operas of the Academy period are generally more serious in tone (the enjoyable exception is Flavio (1723)..." Anthony Hicks in Grove Music Online.Very slightly worn, browned, and soiled; very occasional minor foxing; minor dampstaining to lower inner margins; remnants of contemporary blue/gray wrappers to extreme inner margin of some half-titles; margins slightly trimmed occasionally just touching catchwords or signature designations; occasional other very minor defects. An attractive collection of rare libretti of some of Handel's best-known works.

OLD BELIEVERS MANUSCRIPT] -Octoechos (liturgy)]. Russia first half of 19th century - Octavo (22.5 x 18 cm). 149 leaves, 8 additional ll. in different hand on paper with smaller margins, illuminated in red and black ink, with profusely illustrated headpieces, quires numbered with Church Slavonic numerals. Contemporary blind stamp leather binding over wood panels, spine with five raised bands, two clasps (both missing); rubbed. The present manuscript exemplifies the archaic style of singing, known as khomoniya or razdel'norechie, retaining the reduced vowels of Church Slavonic. This style of singing was abolished in the Orthodox Church in the latter part of the 17th century, but was retained by some Old Believer communities. The liturgical book called Octoechos contains a repertoire of hymns ordered in eight parts according to the eight tones and sung during the celebrations of the Sunday Office. The volume would have been made and used by Old Believers, who separated after 1666 from the official Russian Orthodox Church as a protest against church reforms introduced by Patriarch Nikon of Moscow between 1652 and 1666. The faithful refused to accept the alterations in Orthodox worship and amendments in the Holy texts imposed by the Patriarch Nikon that were aimed at bringing the religious practice closer to the "Greek originals". Hence, they reproduced their Holy texts in manuscript preserving liturgical practices that the Russian Orthodox Church maintained before the implementation of these reforms. [Attributes: Hard Cover]

HAYWARD EdwardThe Sizes and Lengths of Riggings For all his Majesties ships and frigats. As also proportions of boatswains and carpenters stores, of all kinds, for eight months sea-service on the coast of England: together with sundry other useful observations, as may appear by the index following. First Edition, third issue of four. Small Folio. [270 x170 mm]. [13], 60, [1 (blank)] pp., woodcut Royal arms on the title-page. Very small nick to the lower fore-corner throughout (slightly more severe in the first sixteen or so leaves), shaved by the binder with some loss of a few signatures (D1, G1, H1, I1) and one catchword (D1) and to the rule borders at the foot and pagination at the head and touching the bottom line of text of "A List of his Majesties Ships", some browning to gathering "F", two (30mm) incisions caused by the removal of a seal in the inner margin of D2 [see below]. Rebound in half calf, old style; formerly part of a tract volume; facsimile North Library bookplate. London: by Peter Cole, 1660 [the date altered in ink to

OLD BELIEVERS MANUSCRIPT] -Divine Liturgy of St. John Chrysostom. Communion Hymns. Divine Liturgy of the Presanctified Gifts. Prokeimena]. Russia Middle of 19th century - Small quarto (23.2 x 18.3 cm). 93 leaves in total, including 75 ll. numbered in Church Slavonic numerals and 18 unnumbered ll. in different hand, Illuminated in red and black ink, with profuse polychrome and gilt illustrations of the title page, ll. 58-59 and initials, most leaves bear an impressed stamp ?.?.?.?.? ??????????? in the corner; some marginal restorations not affecting text, a small hole in leaf 92. Contemporary blind stamp leather binding over wood panels, two clasps (both missing); re-cased, bound upside down, spine neatly restored, boards slightly rubbed. Beautifully illuminated example of manuscript Divine Liturgy of St. John Chrysostom, the most celebrated Divine Liturgy in the Byzantine Rite attributed to Saint John Chrysostom, Archbishop of Constantinople in the 5th century. The volume would have been made and used by Old Believers, who separated after 1666 from the official Russian Orthodox Church as a protest against church reforms introduced by Patriarch Nikon of Moscow between 1652 and 1666. The faithful refused to accept the alterations in Orthodox worship and amendments in the Holy texts imposed by the Patriarch Nikon that were aimed at bringing the religious practice closer to the "Greek originals". Hence, they reproduced their Holy texts in manuscript preserving liturgical practices that the Russian Orthodox Church maintained before the implementation of these reforms. [Attributes: Hard Cover]

PETER HEYLYN.:COSMOGRAPHIE, IN FOUR BOOKS CONTAYNING THE CHOROGRAPHIE AND HISTORIE OF THE WHOLE WORLD AND ALL THE PRINCIPALL KINGDOMS, PROVINCES, SEAS, AND ISLES THEREOF. With an accurate and an improved index of all the kingdoms, provinces, countries London, printed for Anne Seile, 1666. inhabitants, people, cities, mountains, rivers, seas, islands, forts, bays, capes, forests, &c. of any remarque in the whole world; much wanted and desired in the former, and now annexed to this last impression, revised and corrected by the author himself immediately before his death. Third edition 1666, corrected and enlarged by the author. Folio in sixes, 340 x 225 mm, 13½ x 9 inches, LACKS ALL 4 MAPS, present is the extra engraved pictorial title page by Robert Vaughan, dated 1665, and the letterpress title page printed red and black. Divided into 4 books each with separate dated title page (1665) plus one for the second part of Book 4, and one for the Appendix Terra Australis Incognita also dated 1665, signatures continuous, pages: [12], 998, [2], 999-1088, [2], 1089-1095, [40]. Bound in full contemporary blind panelled calf, nicely rebacked to match with raised bands and gilt lettered morocco label, original endpapers retained. Corners worn, some marks and stains to covers, neat modern signature on front endpaper, slight creasing to inner corners of engraved title, 2 numbers in the top margin, small chip to fore-edge margin with neat repair, small stain to top outer corner, crease to outer corner of letterpress title also, light damp-stain to lower edges of prelim pages, some staining to text in the Europe section caused by pressed flowers, no loss of legibility, tiny rust hole in 2 pages with loss of a few letters, large chip to 1 fore-edge margin, small chip to 2 upper margin corners, large hole in 1 fore-edge margin due to paper flaw, neatly repaired, some light damp-staining to lower margins intermittently from page 433, mostly very pale, a little heavier towards the end, a little creasing to to lower outer corner of pages 1089-1093. A good sturdy copy, lacking the maps as noted, but with plenty of very interesting reading. Covers all the countries of the known world, chapters are of varying length on Persia, China, India, Egypt, Barbary, Ethiopia, African Isles, America, California, Florida, Virginia, Nova Hispania, Guatimala, Chile, Guiana, West Indies, Brasil, Cuba, Terra Australis Incognita, Tartaria, Arabia, Mesopotamia, Palestine, Hungarie, Greece, Italy, Russia, Germany, France, Spain, Alps, Cyprus, Turcomania, Britain etc. Peter Heylyn (1599-1662) was an English ecclesiastic and author of many polemical, historical, political and theological tracts. He incorporated his political concepts into his 2 geographical books. The "Cosmographie", which was an attempt to describe in meticulous detail every aspect of the known world in 1652 (date of first edition), the geography, climate, customs, achievements, politics, and belief systems, appears to have been the first description in print of Australia, and perhaps of California, Terra del Fuego, and other territories in the New World. Cox, II, page 339. THIS IS A HEAVY BOOK AND WILL REQUIRE EXTRA SHIPPING COSTS. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

"Trumphius, Johann-Georgius, uit Goslar; Praeses: Rolfinck, Werner"Scrutinium chimicum vitrioli Jena S. Krebs 1666. "Diss. Jena 6-10-1666 ; (8) + (64) p."."Slotvers van H.W. Trumphius. &#11;Ferguson II, 476 quoting Zedler, who says that this work was recieved with the greatest approval by all who understood nature, and particular by the English, who extolled it highly in their monthly periodicals. Duveen p. 588; Ferchl p. 545. This is the very rare first edition. This dissertation on vitriol was re-issued the next year with a slightly different title."

[G T]The Practick Part of the Law London - Printed by John Streater, James Flesher and Henry Twyford, Assigns of Richart Atkyns and Edw. Atkyns, 1666 Book. Hardcover. An interesting seventeenth century Law Work. The ESTC entry for this work(R184824) attributes authorship to 'GT'. This work is incomplete as it lacks one leaf. Collated, Lacking the final blank as well as leafL4 (Pages 151-152). The running title to this work is 'The Compleat Attorney'. To frontblank there is a contemporarynoteby one Tho Hawkins regarding how to make ink. Tho Hawkins and C Hawkinsnames are signed to thetitle page. Full title of this work is 'The practick part of the law: shewing the office of an attorney, in the Courts of Kings Bench, Common-Pleas, and Pleas in the Exchequer, and the manner of their proceedings in any action reall, personall, or mixt, (from the originall, to the execution) in all courts; with the exact fees of all officers and ministers of the courts. Together with speciall intructions for the sollicitation of any cause in chancery, exchequer-chamber, dutchy-chamber, &c. very usefull for all men. Carefully revised; with are contained all the principal matters in the whole book. ' Condition: In fullsheep binding. Externally, worn, particularly to the backstrip and boards. Front board is detached but present. Severe loss to backstrip, resulting in th binding to split. What remains of backstrip is lifting at rear joint and is very rubbed. Loss to the rear board due to rubbing. Rear hinge is tender. Prior owner's inscription to the recto of front endpaper, Thomas Hawkins. Prior owner's inscriptions to the title page. Binding has split at page 161 and is tender otherwise. Pages are age toned, particularly to edges. To pages226-227the bottomcorners arelacking. Small amount of worming throughout, mostly to the gutter at thehead and tail. Does not affect the text. To pages 317-end the worming is mostly at outer edge. Instances of light scattered spots throughout. Overall:FAIR..